Reviews

For a second I thought this was a Korean movie even though there's a 20 episode drama out there. I thought it was the guy who played in Uncanny Counter which led me to Netflix to watch it. I had to do a double take when I heard Japanese so I went and did a little research and learned it's not the guy from Uncanny Counter but I watched it because it showed some fighting scenes.

I'm always drawn to movies and dramas that have fighting in it for some odd reason...

Anyway, this movie lacked purpose for me. I had to stop it at one point and have just now finished watching it.

It started off in the middle and stayed that way until the end. I had no idea who the City Hunter was, how he came to be, and why was he called the City Hunter.

Then there's the reason for this movie....a female is looking for her sister so I'm guessing the City Hunter was a PI with skills.

I got the gist of people getting enhanced drugs that was supposed to be banned from a certain war and a union is trying to bring it back and weaponize it but why? What's the purpose?

This was an almost 2 hour movie with so many plot holes that I'm wondering how did it make it to where it gets to be on Netflix?

The comedy was overly done. I didn't laugh at all. The sexual innuendos were unnecessary. The plot was weak...

Come on Japan...you can do better!

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Two young heterosexuals, a kiss that has the power to change lives and a rooftop

When we try to answer the question "what is the reason to love?", we will always be surprised to realize that there really is no reason at all. Through images, music, words and silences, 'Heart... Not a Reason', the 2020 Thai short film, describes this situation, while immersing us in the passionate and secret love relationship between two young heterosexuals, who fall in love after kissing as part of a card game in which they participate.
Toey and Puth, which is the name of our narrative heroes, are two strangers who meet for the first time after their respective girlfriends, May and Ploy, meet again after some time, and decide to introduce their current partners and go on dates double.
During the course of the evening, between plates of food and drinks of alcohol, the four young people agree to participate in a card game, in which the losers must comply with the punishment imposed by the winner.
With the chemical universe behind a kiss, Toey, played by Scott Pannachai Keatkaew, an actor we know for his role as Pent in the LGBT+ themed romantic series 'What the Duck' and 'What the Duck Season 2: Final Call ', and Puth, played by Book Sikaphat, an actor and singer known for appearing in the drama 'Risk Lust Love', also experienced a very deep exchange of sensations and emotions that gave way to love. In other words: knowing each other allowed them to know themselves.
The character played by Scott conveys the image of a person with a confused heart and no confidence. In truth, Toey searches for true love, and what he has searched for so long he finally finds in Puth. He likes how Puth cares about him, pays attention to him, with specific actions such as preparing dinner for him or surprising him on his birthday with a cake. And all this causes Toey to fall in love with him even more.
For his part, Puth is one of the people who gives himself over to love completely. He can't help but fall in love with Toey. While your brain asks you to get away from him, your heart takes you once again to meet him. Puth doesn't want to hurt Ploy, and that's why he hesitates whether or not to continue his secret relationship with Toey, but he can't resist the feeling that has arisen in the center of his chest. It will be very difficult for you to end the relationship with the person you love. While your mouth says one thing, your feelings say the opposite.
However, Puth's girlfriend has also fallen in love with her friend's boyfriend.
Both actors well convey anxiety, restlessness, nervousness, euphoria... all those common and frequent symptoms in people who feel in love. While I see the characters looking at their cell phones, confident that the message is from the other, or how, shyly, they avoid each other's gaze when they meet in public at the shopping center or at the door of one of their houses, I seem to see fluttering the famous butterflies in the stomach, feeling the sweat soak their hands or listening to the beating of their hearts.
The rooftop scene is memorable, as both characters are able to express their feelings and show the incredible chemistry between the two.
The viewer will be able to see how the power of an unexpected and involuntary kiss provokes in the two young people not only that desire to kiss that has a scientific name: filemamania.
The story will surprise us by discovering that nothing is what it seems: while one thinks that they have just started a flirtation, that they feel nervous being close to each other, suddenly we will understand that between the two there is already a deep loving relationship and both they have reached the point where they debate whether it would be right to continue the romance or break up.
The good production, beautiful images, delicate editing, structured script, and a credible well-told story would only be missing a tender and melancholic song. And we have that too, because the short film, in addition to provoking reflection on how no one should be blamed when you fall in love, since no one can control your feelings and your heart, seeks to convey the real story that happened and allowed Book Sikaphat to compose the song "Hua Jai", from the Sikpat Book, which tells the story of two friends who fall in love and how the feeling that arises between them causes the change of their friendly relationship into a romantic one.

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Watchable

Story - Promising premise (I like the general story and the idea of z-pen and bracelet) but it is unfortunate that they had to cramp multiple genre into one show. I'm not saying it should not be done but it is risky to do so and apparently, they ended up with half-baked everything. The romance/drama, kinda destroyed the momentum midway, honestly. I found myself fast-forwarding starting from midway 'til the end.
Editing - Passable. As an avid viewer of zombies, I can say is barely average. In the introductory scenes for instance, They could have started with the flashback instead of present > flashback > present. It would have had made a great impact if they started with the flashback and transitioned to a hardened FL after experiencing losing her SO to the zombies.
Acting - I'm sorry fans but it's not great. The FL, in particular, is not convincing as a "hardened person" after the circumstances she went through. I can think of multiple instance but case on point: Lackluster reaction upon seeing who she thought was long-dead to be alive and well. Action scene ain't that good as well.

I can't think of so many issues but they can be overlooked (believe me, I overlooked a lot because I miss my zombie shows and I wanted to enjoy this) like how stupid it is for the half-bie male lead to be wearing the same clothes after many years?

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Aichaku is a film that has a lot of heart and comes from a shared experience that all foreigners have felt when living in Japan–at times almost feeling too real.

At the test screening in Nakano, Tokyo, one of the directors Micheal remarked that he felt “happy that viewers can view the unique lived experience of foreigners and LGBT people in Japan.” According to the directors, the film was 95% finished with music licensing being the final touches for the film.

The diversity of the story and themes is somewhat unseen in modern cinema with indie films like Aichaku having to pick up the gauntlet, doing so emotionally and with some great acting by the two leads. McCombs especially channeled the exhaustion that foreigners get when the system collapses on top of them into a powerful scene that, as someone who has been in that position millions of times, felt cathartic to see represented. The relationship between the two leads felt very raw and emotional, even if some of the setups played into Japanese tropes. Though to be fair, the film was set in rural Japan where those less-than-modern tropes still flourish.

Aichaku is a heartfelt indie film that has something for everyone, even those outside the LGBT community.

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..GOOD ADAPTATION..

..i just watch some episode of this anime version - i guess this is original story and concept..
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..the main casts show the characters in the anime version (but i am expecting a lot on Kaori's side by i think it's her first time as his [Ryo] partner, so i understand it - the character development i looked too)..
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..a pinch of drama, a punch of action, and jam-packed comedy - no minutes wasted so worth it too watch..
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..i do love the casting too and it's great lineup for me since i am all familar too them..
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..again, this adaptation is so wonderful to me. . .expecting to have new story on this..
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..more bang bang, more mokkori, more babes..

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Folklore occult horror that shouldn't be missed

Exhuma is an enthralling, unique exploration of intergenerational curses, national history, and spectral hauntings. Kim Go-eun easily carries the dramatic load and Choi Min-sik gives his role a grizzled, weary authority. The journey moves viewers from the ghostly to the monstrous with meaning and history behind the horror, and while there are thought-provoking elements at play here there’s also a desire to deliver big, creepy, gory, beautiful thrills. The inclusion of rituals and ceremonies with historical influences craft a tangible world the story exists in, not necessarily adding undeniable plausibility, but certainly introducing disturbing situations steeped in beliefs and tradition.

My Rating : 8/10

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"The world has changed." "But people don't change"

Jeon Woo Chi: The Taoist Wizard was an uneven but entertaining movie about a mischievous Taoist sorcerer who battled monsters in 16th century Korea and 500 years later. A magical flute that can control the monsters was at the center of a battle between good and evil as Woo Chi and his trusty sidekick Cho Rang Yi attempted to put the monsters back in their gourds.

Woo Chi enjoys bringing attention to himself even when he’s doing it for a good cause and also likes tweaking the noses of the rich and powerful. Armed with magical talismans he performs amazing tricks all of which are frowned upon by his master and sidekick. Rang Yi appears human but in actuality is a dog who can also take the form of a horse. One night Woo Chi crosses paths with another Taoist master, Hwa Dam, and three bumbling shinsuns. These shinsuns are the immortals who accidentally released monsters imprisoned in a heavenly realm by losing track of time while Pyohundaeduck played his magical flute keeping them under control. When the monsters escaped, the flute was contaminated with evil spirits. Both it and Pyohundaeduck fell to earth. The flautist lost his memory and disappeared. Hwa Dam and the shinsuns are searching for the flute. Woo Chi in on the hunt for a bronze sword that will help him become more powerful. After Woo Chi’s master is murdered Hwa Dam and the shinsuns blame Woo Chi and lock him into a painting along with Rang Yi and half of the broken flute. 500 years later the shinsuns release Woo Chi when Hwa Dam is unavailable to fight two dangerous escaped monsters.

Kang Don Won was entertaining as the cocky sorcerer, without his charisma this film would have fallen flat. Yoo Hae Jin is a pleasure to watch and always brings his all to every role even when playing animals. Kim Yoon Seok gave a delightful menace to Hwa Dam. And three competent character actors took on the Three Stooges of heavenly beings. Despite being the FL, Lim Soo Jung wasn’t given much to do until the end.

There was plenty of action both magical and down and dirty fighting between Woo Chi and the monstrous rat and rabbit and their human forms. Wire work abounded and Woo Chi sustained hits even a sorcerer shouldn’t have gotten up from. The CGI was rudimentary more often than not, even for 2009. I didn’t have a big problem with the mediocre CGI but I did have a problem with the editing and lapses in narrative. Some of the story was needlessly confusing and contrived. The actors and action managed to smooth over the ragged seams most of the time.

Though a romance was awkwardly inserted, it didn’t work well for me. This was more a story of a sorcerer and his dog. While Jeon Woo Chi was a lighthearted magical romp, its failure to tie several narrative elements together kept it from casting a spell over me.

3 May 2024
(7.25)

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Ahistorical and convoluted

Combine "samurai warriors" with "basilisk kouga ninpou chou" and you will get this cursed, ahistorical abomination of the movie which only saving grace are obviously high production values, direction and acting.

All wasted on trash "story" portraying historical characters as exaggerated caricatures straight out of samurai warriros so if you played that you know what to expect (mitsunari obsessed with justice, sakon being a cynical war veteran with scars on his face, etc. ), ninja with superhuman abilities who seem like they came from a shounen manga, and all kinda events that simply speaking never happened....starting with the beginning scene where hideyoshi met mitsunari as a child in a temple, which is just an apocryphal rumor, and in reality he first met mitsunari when he was already 18. Or the scene where Kiyomasa Kato wanted to kill Mitsunari, but the latter found refuge in Ieyasu's mansion, portrayed many times as a stage in samurai warriors and completely untrue to history as Ieyasu didn't have any mansion there and likely no assassination attempt even happened there.

This movie is shilling Mitsunari side, and they overdid it hard. I dislike how they portrayed Tokugawa Ieyasu as a complete villain, while writing Mitsunari as a saint. Even his mistakes were because of his good nature.

For example, in the movie he wasn't caught by peasants while trying to run away from the battle. Noo, he was cared for by them and then refused to leave even when the villagers advised him to when Tokugawa troops approached, because he feared the villagers will be executed for helping him and he would rather die then fail to repay his debt to the villagers. Of course, there is zero historical evidence for that, it's just one of many examples of the author wanting to paint Mitsunari as a kind hearted idiot rather than a cowardly villain.

There were also sus moments of technical nature: teppo firing twice in one scene, flat wooden shield stopping a teppo shot, blind yoshitsugu fighting with a spear, crossbows in sekigahara, ashigaru training with swords and shields, and sus amounts of swords on battlefield that should be dominated by spears.

That being said, could be worse: armors weren't paper here, and they actually had to aim for openings in armors to kill their enemies. Overall, individual fight scenes were well done. The group fight scenes weren't so bad either: soldiers actually fought in formations, although chaotically. The blood looked good, and the weapons and armors looked real.

The music is fine but nothing special. The entire romance between Mitsunari and fictional ninja girl was pretty much non existent, so the genre romance is misapplied to this movie.

As many other people said, to understand what is going on here you need to know of the events portrayed in the movie, as well as who is who, as the movie itself haphazardly jumps from one scene to another without explaining what is happening and why. And as I said before, because of various historical inaccuracies and "alternate" interpretations on these historical events, I wouldn't recommend this movie to people who want to learn japanese history.

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Slightly off-tempo romance, beautiful cinematography

There's a lot of promising material in this film, but the heart of the story is a little off-target. The director has a real flair for depicting a city and its atmosphere, in a few aesthetically pleasing but not superficial shots, as well as the emotional weight these cities hold for the characters. It's with the latter that the problem arises: they're well acted (with subtle facial expressions in their interactions) and potentially plausible, but some of the dialogues should never have gone beyond the rough draft stage. As a result, the discussions between characters are sometimes very clumsy, without really having a naturalistic aspect, where key words are repeated over and over again without really moving forward. This aspect clashes all the more with the rather fast pace of this fairly short film, awkwardly slowing down what was hitherto moving at high speed.

When we get away from this heavy-handedness, the characters take on much more meaning, as in the shorter exchanges via webcam, or when the two male leads meet for the first time and exchange introductions in each other's language. The final scene is equally beautiful, full of restrained tension.

The soundtrack is also well done. I can't wait to see her next film; despite the clumsiness of this first attempt, there's a lot to like here.

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Il y a beaucoup de matériau prometteur dans ce film, mais le cœur de l'ouvrage vise un peu à côté de la cible. La réalisatrice a une vraie belle patte pour ce qui est de dépeindre une ville et son atmosphère, en quelques plans esthétisants sans être superficiels, ainsi que le poids émotionnel que ces villes entretiennent avec les personnages. C'est avec ces derniers que le bât blesse un chouïa, ceux-ci sont bien interprétés (avec une mimique subtile dans leurs interactions) et potentiellement plausibles, mais certains des dialogues n'auraient jamais dû dépasser le stade de brouillon. Cela donne des discussions entre personnages parfois très pataudes sans vraiment avoir un aspect naturaliste où l'on répète à l'envie des mots clefs sans vraiment avancer. Cet aspect s'entrechoque d'autant plus avec le rythme plutôt rapide de ce film assez court en ralentissant assez maladroitement ce qui défilait jusque là à grande vitesse.

Quand on s'échappe de ces lourdeurs, les personnages prennent bien plus de sens, comme lors des échanges plus courts via webcam, ou bien quand les deux rôles masculins se rencontrent pour la première fois et échangent des présentations dans la langue de l'autre. La scène finale est également belle, toute en tension retenue.
La bande-son est de bonne facture également. J'ai hâte de voir son prochain film, malgré les maladresses de cette première tentative, il y a beaucoup de choses à aimer ici.

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A rolling coaster of emotion & superb cinematography visualize.

With well-written characters, post-war sequelae, and exceptional acting... this movie just proves that it is one of the masterpiece movies this year.

First, I never thought I would love a MonsterVerse film, and admittedly looking forward to watching this so badly because heard it won an Oscar, even watched "Shin Godzilla" while waiting. I already watched some Hollywood Godzilla movies and never liked them at all, these movies are all just dull and meaningless which created a showcase for the development of their excellent cinematography.

★ The Plot:
The movie unfolds two years after the end of World War II, when Japan's economy was severely impacted and focuses extensively on postwar living and rebuilding the country from the ashes. Japan was embargoed during the time, and not only the economy but nearly every other aspect of life suffered greatly. Godzilla emerged out of nowhere, bringing the country, which was already in disorder and instability, to the edge of disaster.

--> In contrast to Shin Godzilla, which depicts the conflict between the young and old generations in the Japanese government apparatus, as well as the evolution of this monster, Godzilla Minus One focuses heavily on the personal tragedy of "each human face" to highlight the trauma they were forced to endure. All of the characters in the film had traumas following the war. When the situation pushes them to rise and confront a monster they know little about, the characters try to keep going because they believe the sun will shine again one day.

★ Characters:
While the human character arc is often ignored in Hollywood films, in this film it is the focus and core of the plot, contributing to the film's success. Our protagonist is one of the symbols of all the post-war suffering: survival guilt, and the loss of family that every person and soldier in that era went through. Even the supporting characters have ample screen time to express each of their emotions adequately.

★ Acting:
Kamiki Ryunosuke surprised me with his acting skills, he's nailed it as a kamikaze pilot character, the scared eyes to determine eyes, hands trembling, and lines... are all excellent. Other supporting and background actors also give their best in their roles to make their characters vivid.

★ Cinematography:
A big appreciation for the art of the screenwriter & director Yamazaki Takashi he's absolutely talented and one the best ever by making this art with just 15M$.

In the end, congratulations to the director and all the actors for won a best winning award for their efforts.

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